Jeri English is an Associate Professor of French and Women’s & Gender Studies at the University of Toronto Scarborough (Canada). Her teaching and research areas include feminist literary, film and cultural theories, contemporary French cinema and 20th and 21st century French women writers. She recently published a chapter in Screening Youth: Contemporary French and Francophone Cinema (EUP, 2019), and has an article appearing in a forthcoming issue of Dalhousie French Studies. Her current research project examines the monstrous, the abject and the uncanny in contemporary Science Fiction films. Marie Pascal is an Assistant Professor of French and Québec literature and film at King’s University College at Western University (Canada). Her research deals with the questions of the Other and abjection in the arts. She has also written on the reception of cinematographic adaptations – which she calls ‘transcreations’ – in the Québec canon. She has previously published works in Revue d’études cinématographiques, and ReFocus: The Films of Xavier Dolan (EUP, 2019). She is currently directing an issue of Dalhousie French Studies dedicated to the concept of abjection in literature and cinema and recently founded Transcr(é)ation, a journal dedicated to adaptation and transmediality.

• Introduction: Jeri English and Marie Pascal1. Denis Villeneuve, Québécois and Citizen of the World - Amy J. Ransom2. Science Fiction, National Rebirth, and Messianism in Un 32 août sur terre - Kester Dyer3. Close-ups and Gros plans: Denis Villeneuve the Macrophage - Marie Pascal4. Reproductive Futurism and the Woman Problem in the Films of Denis Villeneuve - Brenda Longfellow5. Filming Missing Bodies: ‘Bodiless-Character Films’ and the Presence of Absence in Denis Villeneuve’s Cinema - Emily Sanders6. Life, Risk, and the Structuring Force of Exposure in Maelström - Terrance McDonald7. The Self as Other and the Other as Self: Identity, Doubling and Misrecognition in Incendies, Enemy and Blade Runner 2049 - Jeri English8. Villeneuve’s Hidden Monsters: Representations of Evil in Prisoners and Sicario - Alex Frohlick9. Beyond Complexity: Narrative Experimentation and Genre Development in Enemy - Melanie Kreitler10. Subjectivity and Cinematic Space in Blade Runner 2049 - Christophe Gelly, David Roche11. Mere Data Makes a Man: Artificial Intelligences in Blade Runner 2049 - Kingsley Marshall12. Shortening the Way: Villeneuve’s Dune as Film and as Project - Trip McCrossin

This valuable collection provides a rich discussion of Villeneuve’s oeuvre, from Quebec indie -auteur to Hollywood blockbuster. Individual essays provide deep analysis of formal elements including the use of sound, camera-movement, and editing alongside examinations of such themes as gender, trauma and memory, monsters and temporality, nationhood, subjectivity and identity.

Jeri English is an Associate Professor of French and Women’s & Gender Studies at the University of Toronto Scarborough (Canada). Her teaching and research areas include feminist literary, film and cultural theories, contemporary French cinema and 20th and 21st century French women writers. She recently published a chapter in Screening Youth: Contemporary French and Francophone Cinema (EUP, 2019), and has an article appearing in a forthcoming issue of Dalhousie French Studies. Her current research project examines the monstrous, the abject and the uncanny in contemporary Science Fiction films. Marie Pascal is an Assistant Professor of French and Québec literature and film at King’s University College at Western University (Canada). Her research deals with the questions of the Other and abjection in the arts. She has also written on the reception of cinematographic adaptations – which she calls ‘transcreations’ – in the Québec canon. She has previously published works in Revue d’études cinématographiques, and ReFocus: The Films of Xavier Dolan (EUP, 2019). She is currently directing an issue of Dalhousie French Studies dedicated to the concept of abjection in literature and cinema and recently founded Transcr(é)ation, a journal dedicated to adaptation and transmediality.

• Introduction: Jeri English and Marie Pascal1. Denis Villeneuve, Québécois and Citizen of the World - Amy J. Ransom2. Science Fiction, National Rebirth, and Messianism in Un 32 août sur terre - Kester Dyer3. Close-ups and Gros plans: Denis Villeneuve the Macrophage - Marie Pascal4. Reproductive Futurism and the Woman Problem in the Films of Denis Villeneuve - Brenda Longfellow5. Filming Missing Bodies: ‘Bodiless-Character Films’ and the Presence of Absence in Denis Villeneuve’s Cinema - Emily Sanders6. Life, Risk, and the Structuring Force of Exposure in Maelström - Terrance McDonald7. The Self as Other and the Other as Self: Identity, Doubling and Misrecognition in Incendies, Enemy and Blade Runner 2049 - Jeri English8. Villeneuve’s Hidden Monsters: Representations of Evil in Prisoners and Sicario - Alex Frohlick9. Beyond Complexity: Narrative Experimentation and Genre Development in Enemy - Melanie Kreitler10. Subjectivity and Cinematic Space in Blade Runner 2049 - Christophe Gelly, David Roche11. Mere Data Makes a Man: Artificial Intelligences in Blade Runner 2049 - Kingsley Marshall12. Shortening the Way: Villeneuve’s Dune as Film and as Project - Trip McCrossin

This valuable collection provides a rich discussion of Villeneuve’s oeuvre, from Quebec indie -auteur to Hollywood blockbuster. Individual essays provide deep analysis of formal elements including the use of sound, camera-movement, and editing alongside examinations of such themes as gender, trauma and memory, monsters and temporality, nationhood, subjectivity and identity.

Jeri English is an Associate Professor of French and Women’s & Gender Studies at the University of Toronto Scarborough (Canada). Her teaching and research areas include feminist literary, film and cultural theories, contemporary French cinema and 20th and 21st century French women writers. She recently published a chapter in Screening Youth: Contemporary French and Francophone Cinema (EUP, 2019), and has an article appearing in a forthcoming issue of Dalhousie French Studies. Her current research project examines the monstrous, the abject and the uncanny in contemporary Science Fiction films. Marie Pascal is an Assistant Professor of French and Québec literature and film at King’s University College at Western University (Canada). Her research deals with the questions of the Other and abjection in the arts. She has also written on the reception of cinematographic adaptations – which she calls ‘transcreations’ – in the Québec canon. She has previously published works in Revue d’études cinématographiques, and ReFocus: The Films of Xavier Dolan (EUP, 2019). She is currently directing an issue of Dalhousie French Studies dedicated to the concept of abjection in literature and cinema and recently founded Transcr(é)ation, a journal dedicated to adaptation and transmediality.

• Introduction: Jeri English and Marie Pascal1. Denis Villeneuve, Québécois and Citizen of the World - Amy J. Ransom2. Science Fiction, National Rebirth, and Messianism in Un 32 août sur terre - Kester Dyer3. Close-ups and Gros plans: Denis Villeneuve the Macrophage - Marie Pascal4. Reproductive Futurism and the Woman Problem in the Films of Denis Villeneuve - Brenda Longfellow5. Filming Missing Bodies: ‘Bodiless-Character Films’ and the Presence of Absence in Denis Villeneuve’s Cinema - Emily Sanders6. Life, Risk, and the Structuring Force of Exposure in Maelström - Terrance McDonald7. The Self as Other and the Other as Self: Identity, Doubling and Misrecognition in Incendies, Enemy and Blade Runner 2049 - Jeri English8. Villeneuve’s Hidden Monsters: Representations of Evil in Prisoners and Sicario - Alex Frohlick9. Beyond Complexity: Narrative Experimentation and Genre Development in Enemy - Melanie Kreitler10. Subjectivity and Cinematic Space in Blade Runner 2049 - Christophe Gelly, David Roche11. Mere Data Makes a Man: Artificial Intelligences in Blade Runner 2049 - Kingsley Marshall12. Shortening the Way: Villeneuve’s Dune as Film and as Project - Trip McCrossin

This valuable collection provides a rich discussion of Villeneuve’s oeuvre, from Quebec indie -auteur to Hollywood blockbuster. Individual essays provide deep analysis of formal elements including the use of sound, camera-movement, and editing alongside examinations of such themes as gender, trauma and memory, monsters and temporality, nationhood, subjectivity and identity.